Been testing out Facebook ads for Mr. Sadman in the Middle East to see what does and doesn't work. I never click on ads, but I understand it's part of how Facebook tries to make money.
A few things that I've gleaned after a week and a half. These may be obvious, but it's always good to test out the low-risk basics first, and thankfully Facebook allows you to set your daily balances pretty low.
1) No one else really clicks on Facebook ads. This is true for internet advertising in general, so I wasn't too shocked to see the percentages. Then again, it only takes a few buyers to make it worth the cost. Click-through rates may also have to do with our particular ad creative, of course, so that's something to constantly review.
2) It's hard to separate people from their money. Tough times all around the globe, so you'll have to do a lot more than just get them curious because in the end they'll easily forget and start watching porn or YouTube panda videos instead.
3) Relatedly, it's even more difficult to get people to spend their money on a feature film they've never heard of before, no matter what the hook. The price may not be anything exorbitant, but in the Netflix/BitTorrent-era there's a mental value quotient in terms of paying for one individual film ("I just spent X on this single random movie") and time ("I will have to spend 85 minutes of my life watching this single random movie just to make it feel like it was worth it"). Most people have their fingers off their impulse-buy triggers in this economic climate.
These were expected and may point to that one inevitable result, but for now it's time to mess around some more.
Stay tuned.
Ted Hope, Ira Deutchman, Tilda Swinton and others are part of a new independent film production company called DF Indie Studios. Here's a link to the indiewire.com and Variety articles. Off the top of my head, here are a few reasons why the venture might or might not work.
Might:
- Reputation of all those involved
- Implied vertical integration of "guaranteed distribution"
- Collaborating on a studio-style slate allows a single hit film to offset losses if other films tank
- Fills the void of Indiewood speciality studio arms that have closed down.
Might not:
- Guaranteed distribution doesn't necessarily mean guaranteed audiences
- Guaranteed distribution doesn't necessarily mean guaranteed return
- What does "guaranteed distribution" mean anyway?
- How will they solve or embrace the issues of piracy and file sharing?
- Those Indiewood studios shut down for a reason.
With the names attached, I'm expecting the company will be more in tune with the technological and social changes happening in media than Hollywood has been, so I definitely look forward to what comes of this.
No doubt, it's still a tough sell, especially in these times, but I've always been a fan of independent slates and vertical integration from production to distribution (and even exhibition). If DFIS succeeds, watch the imitators come out of the woodwork.
Additional reading: Anthony Kaufman wonders what kinds of "independent" fare this new studio will produce.
From Ted Hope's twitter feed. Industry executive Barry Diller talks about charging for online content.
An excerpt:
"Anything of any value…is going to get paid for" online, Diller said during the event, which was co-hosted by Internet juggernaut IAC and Digital Hollywood.
Diller said the switch to more paid offers is "absolutely inevitable" in order for content producers to survive and the change is already underway. News Corp. and other media biggies have recently signaled they are gearing up efforts to charge for more digital content.
Diller said he expects micro payments to be one pay model on the Web once billing systems become simpler, and he described the success of iPhone applications as a clear sign where things are headed.
"People will pay for content," he said. "They always have."
He may be right, but unless he has some new take on these models or the meaning of "value", he's probably wrong. This illustrates the exact kind of thinking I referred to in my last post that relies too much on the past rather than looking at the present for changes affecting the future. It's the dangerously closed-minded perspective that ignores cultural shifts, which will result in further problems for media companies of all sizes.
The changing face of media distribution has gotten everyone in the film business (both studio and "independent") scared. If you think about it, media as we know it is quite young and has been constantly evolving over the past century. As this evolution accelerates in the digital era, everyone naturally tries to frame the future in terms of that past.
However, I just don't think that's going to work. Though no one can really predict anything, the future of the film business is even more difficult to prognosticate for two primary reasons:
1) the technology of media distribution has not yet plateaued
2) the people who "really matter" to the future of mass media have not yet developed their viewer (read: consumer) habits.
Regarding the former, we clearly live in an ADD age where we get excited by one toy and quickly toss it aside in favor of a newer, slightly shinier one. Friendster was a revelation, MySpace was expansive, Facebook cleaned up our act. The same goes for media consumption. Quicktime to YouTube to AppleTV to Hulu to Netflix to Boxee to TVs that connect directly to the internet, etc. Someone is always coming up with a better way to provide that media/entertainment experience that either renders its competition obsolete or just plain eats it alive. Hence building a new economic model on top of a shapeless foundation simply isn't going to work that well.
This leads to reason #2. Those of us who grew up going to the movies, wishing we had HBO, renting VHS tapes and buying DVDs already have a point of reference of "how things used to be". But it's not about us. As we get older and become dinosaurs, our spending will typically decrease, and the ones who are going to decide what they will and will not pay for and what they will and will not pirate are currently just kids. I've had enough people tell me that their eight year-olds download movies off bittorrent with little interest in how the movie looks or even if it's the complete film. They'll watch parts of a crappy lo-res copy and think nothing of it since they don't relate to "how things used to be". There's no experienced or internalized point of reference.
The fact that the technology is constantly changing right before their eyes, makes predicting their tastes even more dubious. How can they start to form their habits when technology hasn't stopped for them to wrap their heads around a platform, a screen size, a mode of delivery?
In the past, the media industry and conglomerates always told us how and when we watch something and for how much. While in many ways older generations are still used to that, future generations won't be. The table is turning and instead the media consumer will soon essentially dictate how the business makes and delivers its content.
Many I know say people will always want to go to the movies, and I don't doubt about that at all. But while the act of going to the movies won't get marginalized the way going to the theater did, the moviegoing experience has already lost its grip on the individual's leisure time.
The social element of watching movies will thus change. While the shared sense of community you get from experiencing a film in a dark room with strangers will always be fun and particular, there will clearly be new ways of feeling community in conjunction with moviewatching. With social networking already a part of a kid's socialization, there will be sufficient means to serve the same social needs.
I've attended enough panels and heard enough from speakers trying to figure out what the new model will be, but after a while it blends into the same chatter. No matter how intelligent or how experienced some of these people may be, there's nothing new to add because, whether we realize it or not, we're pretty much waiting to see what happens.
While I'm not suggesting we simply sit passively on our hands and watch the grass grow, I do believe that when these kids are of "prime consuming age", they'll tell us what they want and how they want it when they're damn good and ready.
This brief article in The Economist summarizes the benefits of VOD for independent film distributors, such as IFC.
VOD is a cheap, easy way for distributors to put films out into the world, but unfortunately it still leaves filmmakers in the unenviable position of giving up the rights to their work for several years for what amounts to (by most film business standards) chump change.
It definitely works for some, and if you're fortunate enough to have someone else do the hustlin' to put the eyeballs on your film, by all means do it. But I'd suggest not making a film for over $25,000 because the going rate isn't likely to be higher than that.
You can't blame IFC or any other distributor either. It's a great business model, as they're clearly trying to corner the expansive "Independent Film" genre (which is actually more of a gross grouping than a genre). It's hard to go wrong with the seemingly endless supply, average demand and low overhead.
The piece's ending paragraph, however, lays out a powerful idea that any mediamaker or even non-mediamaker should be aware of.
Whether accessed via cable television or the internet, video on demand is likely to grow. America’s suburbs are becoming much more diverse places, with more ethnic minorities, more people with degrees and more gays, according to Gary Gates, a demographer at the University of California, Los Angeles. The potential audience for independent films is thus dispersing beyond the places where independent cinemas are concentrated. Not everybody lives near an art-house cinema, but almost everybody has a remote control.
Marinate on that. It could unlock the mystery.
